$808. ] Account of the Marquis of Stafford’s Gallery of Pictures. 537 
soon afterwards, and as it is much more 
easy of attainment, it has in a great mea- 
sure superseded the more difficult and 
arduous province of historical invention ; 
from hence arises the superior value of 
the works of the ancient artists. Diffe- 
rent fashions have been adopted and re- 
jected; the gaudy fashion of Rubens, 
the dark and sallow style of Rembrandt, 
the shewy and blushing style of Carlo 
Maratti. But the style of the first Ita- 
lian school outlives them all, being found- 
ed in the simplicity of Nature, and drawn 
immediately from her source. We shall 
begin the description with the works of 
Raphael, of which there are in this col- 
lection three cabinet pictures of very un- 
equal merits, but each of them conveys 
ing most useful technical knowledge to 
the artist and connoisseur. 
The Holy Family, by Raphael. 
The head of the Virgin Mary posses- 
ses no particular character of ideal beau- 
ty; it seems rather to be a plain delinea- 
tion of natural grace. In the head of 
Joseph the whole is scrupulously hard, in 
the manner of his master, Pietro Pe- 
rugino. As a composition, we cannot: 
class it in any other way than amongst . 
his earliest efforts in the art, in which 
sense it may be considered as an invalu- 
able curiosity, shewing to the curious 
spectator the gradual developement of his 
taste. The colouring has not the warmth 
and richness of the two next pictures, 
whichare by the same eminent master, 
The Virgin and Child, by Raphael. 
Tn this interesting and affecting piece 
the Virgin is represented kneeling down, 
and gradually withdrawing a veil from the 
infant Saviour, who is represented as 
asleep in the front of the picture. In her 
face and attitude is represented the most 
amiable maternal tenderness and affec- 
tion ; a gentle smile seems to pervade her 
features; the innocent suffusion of mo- 
dest worth shews itself by a blush, which 
steals like a fair carnation tint over her 
lovely face, All the sweetest combina- 
tion of forms which the features could 
possibly receive from the hand of Fancy 
are here united; the round aud gently 
arched ferehead and eyebrows, thadown- 
cast modest eye, the neck slightly-shaded, 
and the flowing hair, the round and dim- 
pled chin, the general symmetry of the 
whole, the delicate expression of the atti- 
tude, and particularly the hands, are 
such as almost to banish description. 
Such was Raphael! Such’ a collection 
ef excellencies must be contemplated to 
be known; and the more it is contem- 
plated, the more forcibly will the whole 
impression strike the mind with its gene- 
ral and impressive effect. The tone of 
colouring in this: delightful picture, al- 
though sufficiently warm, is by uo means 
bright or dazzling; the blue mantle of 
the Virgin approaches rather to a grey 
colour, by which its lustre is admirably 
kept down, To. describe-the graceful 
lightness of her form, the unaffected dig- 
nity of the whole, or the pleasing and 
well-varied folds of the drapery, which 
gracefully conceal, but hide not the 
shape, will be superfluous to those who- 
have seen it, and but a trifling assistance 
to the minds of those who have not. 
The rude hand of Time has made an in- 
road upon soime parts of this mestimable 
piece, which is a farther proof of its au- 
thenticity and age; but from such at® 
tacks of mischance it may be now con- 
sidered as for the future free, and will 
long remain a genuine proof of the ta- 
lents of the painter. 
The Virgin, Infant Jesus, and St. John, 
by Raphael, 
There is here displayed much dignity 
and beauty in the character of the infant 
Jesus, who is advancing in front, along a 
road, and holding by his mother’s hand ; 
there is an expression of infinite benig- 
nity and sweetness in his face, and he 
stoops his head in salutation to the in- 
fant John, who eayverly advances to give 
him a kiss. The figure of the Virgin is 
clothed in a rich and dark-blue vest; 
which sets off the beauty of her complex- 
ion to much advantage. In her face is 
depicted modesty, amiable condescen- 
sion, and delight. She seems to rejoice 
in the affectionate attention of the chil- 
dren, whose actions seem as perfectly un- 
constrained as nature itself, The group- 
ing also, and disposition’ of the parts, is 
admirable. The painting is executed in 
a firm and warm style, yet without the 
least glare. The figure of Joseph is ad- 
mirably introduced in the back ground. 
He seenrs intently bent upon his occupa- 
tion: he carries a bundle upon his 
shoulder, and there is a charaeter of 
thoughtful and sedate majesty in his man- 
ner and appearance, which is highly im- 
pressive. Tne landscape contains some 
distant buildings, highly finished, and also 
some trees scattered at different dis- 
tances. ‘The effect of the whole is ad- 
mirably preserved, and resembles the 
magic effect of nature. The hands, feet, 
and extremities of the figures, are admi- 
rably 
